We finished off the focus on Mannerism with the elegant and enigmatic world of Agnolo Bronzino’s Allegory with Venus and Cupid and the poignant Portrait of Eleonora de Toledo and her son Giovanni de’Medici. These masterpieces by Bronzino offered a glimpse into the refined courtly aesthetics of the Italian Renaissance, showcasing intricate details, symbolic motifs, and a sense of aristocratic grace. Transitioning to the High Renaissance in Northern Europe, we delved into the profound impact of the Protestant Reformation on art and society. Exploring the works of Albrecht Dürer, we were introduced to a world where religious fervor, humanism, and artistic innovation converged. Dürer’s Self Portrait revealed his meticulous attention to detail and introspective gaze, inviting us into the artist’s inner world. The haunting imagery of The Four Horsemen of the Apocalypse captivated our senses with its apocalyptic themes and intricate symbolism, reflecting the tumultuous times of religious upheaval in Europe. Dürer’s mastery of watercolors showcased his versatility as an artist, capturing delicate nuances of light and shadow with exquisite precision. I really appreciate Dürer’s ability to transcend cultural boundaries and convey universal themes that resonate across time and space. The interplay between art, religion, and politics during the Protestant Reformation underscored the dynamic nature of artistic expression as a reflection of societal change and ideological shifts.
Category: Uncategorized (Page 29 of 48)
We looked at works today like “The Blind Leading the Blind” and “The Return of the Hunters,” where intricate details and profound symbolism converged to depict scenes of everyday life with a touch of allegorical depth. Bruegel’s ability to infuse his paintings with social commentary and moral lessons left a lasting impression on our understanding of Northern Renaissance art. Moving from the North to Italy, we discussed Italian Baroque art and Bologna’s crucial role in furthering realism via painters such as Annibale Carracci. The study of Carracci’s works revealed the Baroque period’s emphasis on emotion, drama, and dynamic compositions. His approach to capture the natural world with reality and vigor was a break from the idealized forms of the High Renaissance, indicating a fundamental shift in creative expression. The contrast between Bruegel’s intricate narratives and Carracci’s naturalistic approach highlighted the evolution of art across different regions and time periods. It was fascinating to witness how artists from varying backgrounds and traditions contributed to shaping art history through their unique perspectives and innovations.
In today’s class we continued with the Baroque art in Italy and moved into Spain. We first looked at the Gianlorenzo, Bernini, David sculpture made in 1623. Bernini was a very talented artist considering he made a life-size marble sculpture in 7 months. This marble sculpture represented David in two different positions. His face represents one while his body throwing a disc is representing another. Another piece made by Bernini was the The Ecstasy of the St. Teresa made in 1645-52. This area is capturing the vision of Teresa and the reality of the sculptures. The sides have viewers sculpted to represnet witnessing this event occur.
We discussed other artists work at the end of class and the one which stood out to me the most was the portrait by Diego Veláquez Las Meninas, 1656. I really enjoyed the dynamic of this artwork because it makes you really think the positioning of everyone. Diego being the artist in the painting and also the painter is interesting because you can tell my his head positioning and eyes. Since he had to paint himself, he is the only one with direct eye contact. The other people in the portrait are apart of the royal family. My favorite part is the dog which is so realistic and the mirror in the back of the wall depicting the royals getting painted behind the viewer but reflected onto the wall.
Today we started off class by diving into the spectacular works of Gianlorenzo Bernini. He thought of himself as Michelangelo’s successor, but I think it can be a bit hard to compare the two considering how different their works are. Bernini’s works are certainly more theatrical and engaging, while Michelangelo’s work create distance between the viewer and the sculpture by being incredible paradigms of mathematical proportion and heavenly serenity. Given Bernini’s extensive background in set design and the performing arts, it makes sense that his work is a bit more theatrical and certainly emotionally charged. We can literally see the physical effort Bernini’s David is making to hurl the stone, and the design for the Cornaro Chapel with The Ecstasy of St. Teresa resembles the architecture of a theatre. Bernini’s works draw us into moments, and help us visualize biblical scenes so we cultivate our own emotional and spiritual reaction to them.
We talked about a few different pieces of Italian Architecture before moving into a discussion of the Spanish Baroque. I think this period is really interesting because the Spaniards (being so religiously conservative) found very subtle ways to pack Christian imagery in paintings that one might assume are secular. With Ribera’s The Club–Footed Boy, for example, on the surface the painting just seems to be a beggar standing on top of a hill with a bucolic Neapolitan landscape behind him. It was interesting to learn that Ribera dove deeply into Counterreformation literature and motifs (smiling as a means of warding off unholy things, holding cane as a musket shows the boy as a “Soldier of God,” charity as an important alm, etc.) to underscore the holiness of the poor and destitute.
In today’s class we finished talking about the High Renissance Art in Northern Europe by looking at Pieter Brugel the Elder and his The Blind Leading the Blind artwork created in 1568. I enjoyed the style of this artwork because of the direction your eyes took when looking at it. The artwork was made on a long elongated piece of wood that was read downhill from the top left to bottom right. We also looked into his art of landscapes Harvesters and The Return of the Hunter both created in 1565. Brugel created these pieces for visual enjoyment rather than putting ant significance or story behind them.
We shifted over to the Italian Baroque Art period which then we talked about the counter reformation which took place in the 16th and early 17th century. This was between the Roman Catholics opposing the Protestants Reformation to create the Catholic church which began the Council of Trent in 1545. Through this period new forms of art were created involving more religious aspects.
We spent this class finishing our discussion of the Baroque Period in Italy. The majority of the class was spent looking at the works of Gianlorenzo Bernini. We first looked at his sculpture of David. David works to combine art with the real space. Bernini chose to represent David between two moments and captures the split-second where he is slinging the rock. The intense forward focus seen in David’s face and the twisting motion of his body adds to the level of realism by making viewer feel like Goliath is behind them. We then looked at The Ecstasy of St. Theresa, a marble sculpture done by Bernini depicting the vision of St. Theresa. Bernini again embeds the viewer into the scene with a theater boxes on the side of the walls looking into the scene. Additionally, he created the illusion of St. Theresa being bathed in heavenly light by using a secret stained glass window reflected on golden metal to create the illusion.
We finished class by looking at a few Baroque paintings from Spain. Most notably Jusepe de Ribera’s The Club-Footed Boy. Ribera depicts the beggar in same way as important person, using a low horizon line to make the figure towering.
The beggar is also asking for money for love of God, highlighting the importance of works of mercy during the Counter-Reformation.
Bernini was one of the best sculptures but also was Renaissance man in he pursued many different mediums and interests. During his lifetime he finished the Basilica of St. Peter as well as putting up statues in Rome. His sculpture, David was commissioned by a member if the Borghese family. He completed it within 7 months, which is impressive considering the detail and medium. It parallels the action of a discus thrower statue in motion but does so better. It was representative of Baroque Art in terms of its illusion of reality.
The Ecstasy of St. Teresa is a work combining a multitude of elements in the Cornaro Chapel. There is a central work portraying a St having a vision which puts her in a state of ecstasy. This is illuminated by a hidden window. Also, the figures are made out of a very white stone. On both sides are carvings of balconies with people sitting in them. All of these elements are a part of a coextensive space which connects the spacial area of the depiction to the viewer. This gives the illusion that this work is real and makes the viewer part of the work. Works like these were a sort of counter to Protestantism as they allowed no images in churches. This idea came from the book Spatial Exercises by Ignatius of Loyola. Bernini was known to have practiced these exercises.
In class we further discussed the Baroque period in Italy and Spain. Most intriguing to me was the sheer increase in dynamism that the period ushered in. Bernini’s David in particular echoed the Renaissance ideal of antiquity, but it was fundamentally more dynamic and involved than sculptures from that period. With the inclusion of the audience in the work’s scope via coextensive space, the viewer is hit with an immediate sense of action.
After the Protestant Reformation, the Catholic Church engaged in a counter reformation with art as one of their primary weapons. Where Protestantism shuns images, Catholicism doubles down on including the faithful in religious images. The Ecstasy of St. Teresa uses sculptures on the walls, a hidden window, and a sympathetic center to convince a worshiper that they are witnessing a saint have a vision. Bernini was a devotee to Ignatius of Loyola’s ‘Spiritual Exercises,’ wherein people were encouraged to visualize being involved in biblical stories. More than simply being present, these exercises urged the faithful to imagine interacting with figures and events–imaginings which Bernini throughly encouraged with his immersive works. This deliberate inclusion of the audience in the drama and spirituality of art, along with the emphasis on dynamism define the Baroque period.
Today’s class focused on Baroque Art in Italy and Spain.
We covered several Bernini works: David, The Ecstasy of St. Teresa, Baldacchino, and the Piazza before St. Peters. I particularly loved the connection that prof made between the usage of coextensive space and the rise of Catholic Mysticism and the practices encouraged by Ignatius of Loyola. In the Jesuit order, practices of imagination (stepping into and interacting with biblical scenes) were essential to the Counter-Reformation. This, therefore, made images (inner and outer) absolutely essential to Bernini’s art.
We then looked at Gauli’s Triumph in the Name of Jesus, as well as the accompanying sculptures by Antonio Raggi. Raggi also did the sculptures in Borromini’s San Carlo alle Quattro Fontane, whose sculptures (similarly to Bernini’s St. Teresa) appear to be performers on the stage within their niches.
We then looked at Cotan’s Quince, Cabbage, Melon, and Cu cumber. Cotan uses a very Caravaggio-esque form of directional light, which may either be a coincidence or an act of inspiration, as Spain and Italy had a connection through Spain’s occupation of Naples.
Next was Ribera’s The Club Footed Boy, who depicted a beggar with the importance of a king with his elevated posture, confident pose, and the carrying of a walking-stick that highly represents how a musketeer would brandish his weapon. Prof. Plesch mentioned how The Christian Democratus may have influenced how Ribera chose to depict the boy, as his cheerful expression makes the piece seem to be a celebration of his status as a beggar.
We then looked at Zuraban’s St. Serapion, where the black background seems to project the subject into our space. It also contains a cartillino label with a startling 3-D effect.
Finally, we looked at Velazquez’s Las Meninas. I particularly enjoyed the paradoxical composition/perspective in this painting, as well as how Velazquez has painted himself– he has the cross of Santiago painted on his garb, as well as the keys to the royal bedchamber at his side– all symbols of status. Prof. Plesch described this work as a “painting about painting”, which I thought very fitting.
In today’s class, we continued our discussion on Italian baroque art. We analyzed a variety of different works such as Gianlorenzo Bernini’s “David” as well as his “Ecstasy of St. Teresa.” Bernini was one of the most influential artists at the time. Born in Naples, he moved to Rome and spent his entire career there commissioning a variety of different works. He was multi-talented: a painter, stage designer, an architect, and more. By age 17 he was already commissioning sculptures for the Pope. His “David” sculpture was made entirely out of marble in just seven months, a remarkably short amount of time for such a creation. The sculpture represented an important symbol for Florentines, which was the Goliath being defeated with a slingshot. Bernini’s “David” shows David getting ready to slingshot the rock. He is twisted in one direction, and the depiction represents a split-second stop right before David is about to release the shot. His facial expression is very focused, as he is looking directly at the target. This architecture represents instantaneous action. David is just about to throw the sling shot at the giant, with the viewer being apart of the action. The viewer is apart of this illusion and “real time” experience that is associated with Italian baroque art.
Bernini’s “The Ecstasy of St. Teresa” is another fascinating display. Constructed from 1645 to 1652, the scene depicts St. Teresa, a Carmelite nun in Spain, having a clear vision. The Bernini family is also viewing this vision on the sides of the scene, and the viewer also has a view of the saint having a vision. The central group of the scene is very light compared to the darkness surrounding it. This paints the illusion that the central figures are supernatural with a heavenly light honing down on them. The viewer can not see that there is actually a secret window that is letting light in to the white marble. There are many images portrayed throughout this scene, which is very important for contemporary times. Images was used as a way of fighting against Protestantism, and was thus apart of the Counter Reformation. Bernini depicts Teresa being spiritually and physically affected by this saint next to her, and the levitation of Teresa makes it look very real, creating an illusion. This persuasion of reality is a defining feature of baroque art in Italy.